G. Verdi: Aida – Amonasro
Michele Kalmandi brought to stage an Amonasro meticulously elaborated both in the acting and in the singing, placing a much greater emphasis on the mental processes of the character, rather than his wildness, which led to a uniquely intriguing portrait of the role.
Peter Skorepa, Der neue Merker
Mihály Kálmándi (Amonasro) has all the abilities necessary for this role, and he plays it following the purest traditions.
Jean Marcel Humbert, Forum opera – le magazine de l’opéra et du monde lyrique
Mihály Kálmándi’s compelling presence, as the king of the Ethiopians invading Egypt, succeeds in making us believe that the fate of his people lies in his hands.
Gábor Bóka, Népszava
Mihály Kálmándi gave an outstanding performance as Amonasro; in fact, he has been playing the role of the Ethiopian king in this production for a long time. One of the most dramatic and intense scenes of the entire performance was his duet with Aida at the banks of the Nile.
Károly Fülöp, operavilag.net
[…] it is this crude savageness which is not missing from Mihály Kálmándi’s performance: his Amonasro is full of life and dignity. He plays an authentic father-daughter duo with Maria-José Siri […]
She has found a brilliant partner in Mihály Kálmándy, in whom a powerful voice is matched with a powerful character, and so once again he played the Ethiopian king and enamored freedom fighter authentically. The great duet of Aida, the farewell between the lead role and her father, Amonasro, turned into a real drama in the performance of Kálmándy and Csilla Boross, and the applause for his confident rendition of Andre Chénier’s baritone aria was very well deserved.
Balázs Szabó, feol.hu
Mihály Kálmándi was splendid with his excellently phrasing baritone. It is without question that next to Ildikó Komlósi he gave the finest performance tonight.
Harald Lacina, Der Opernfreund
Mihály Kálmándi’s deep baritone perfectly matches the athletic physique of the “barbaric” King Amonasro.
Dutheil, La Nouvelle République
As Amonasro, Mihály Kálmándy impressed as an artful singing actor, with ringing high notes and heartfelt drama.
Alexandra Ivanoff, bachtrack.com
G. Verdi: Rigoletto – Rigoletto
Michele Kalmandi, a balanced baritone with a warm and solid tone, embodied Rigoletto as a genuine father figure. It was a true artistic achievement.
L’Opera: mensile per il mondo del melodramma, Milano
Michele Kalmandi brought the leading role to life with great impetus. He is a brilliant Rigoletto who sings with a rich spectrum of colors and with complete control over his voice.
It is precisely constancy that makes Mihály Kálmándi’s Rigoletto shockingly powerful. This hunchbacked fool had been worrying from the start about the very thing that eventually took place: he is without glorious moments; not even while he is scheming can he forget about his own tragically perceived fate. Mihály Kálmándi brought subtlety into the portrait of this penniless, defenseless, and fallible man, with his rich and dark colored baritone, the theatrical invocation of his humiliated figure, and his singing which completely dissolved in the role from Act II.
Lóránt Péteri, Élet és Irodalom
At the performance in Budapest, Mihály Kálmándi embodies a tenacious, grand evil, who detests with a never-stopping anxiety and full-hearted devotion.
László Kolozsi, Fidelio
Among the singers the most celebrated one was definitely the Hungarian baritone in the leading role of Rigoletto. With his abilities and professionalism, Michele Kalmandi managed to reach much higher than mere vocal achievement.
His dark, solid baritone is an experience in itself. The part poses no technical challenges for Kálmándi; yet, he does not interpret the role as a parade of voices, keeping himself from formalities in both vocalizing and acting. This, apart from its own value, rings well with Ciofi’s approach: the two performances shone their lights on the other, multiplying the impact they alone could have made on this special evening in May.
Gábor Bóka, operavilag.net
His voice is very close to the ideal imagined for this role: a voce of rich dark brown color, with balanced and confident heights in each register, and depths fairly supported with the right force of air. His melody formation is elegant and perfectly adequate […] His character formation is also authentic; he portrays the rage of the court clown punished doubly by fate by the end of the play just as credibly as the honest desperation of the father worrying for his daughter.
Michele Kalmandi managed to find perfect balance between evilness and generosity in the leading role of Rigoletto.
[…] I hadn’t met his Rigoletto before. (But I have adored his Posa, his Fate-Carlos, his Macbeth, his Nabucco, and I would like to see his Boccanegra too.) […] one can definitely notice the musical solutions he is applying in order to bring life into the character. During the performance I was thinking, this voice is just too beautiful and too compelling to allow me to pay attention to anything else. But most probably that is the trick: the vocally interpreted character formation, which invisibly (or if you pay close attention, maybe visibly) gets under your skin and suddenly everything feels alright […].
G. Verdi: Otello – Jago
As expected, the best character was Kálmándi’s Iago. His impressive appearance incorporates everything one imagines when thinking of what „dark charisma” can mean. In addition, we hear a sonorous, rich voice that perfectly mirrors the temperament. Kálmándi’s Iago is forceful, cynical, honest and truly believes in a cruel God; yearning for this belief to be proved right, he easily disposes the dark side of Othello, unleashing a huge fire from a tiny spark. Kálmándi is the only member of the cast who is strong enough to be in harmony with the setting, using it to his own benefit.
Jan Falk, operanews.ru
Outstanding also Michele Kalmandy as Jago. You would not want to meet this evil person even in broad daylight; vocally the baritone is an elemental force.
Jürgen Feldhoff, Lübecker Nachrichten
With Michele Kalmandy […] they have cast a Jago in a class of his own. Simply fantastic, with which elegance he managed to spread his venom. With his expressive voice blessed with an enormously powerful sound he was the depraved person the way that Verdi and his librettist Arrigo Botto would have imagined this truly Shakespearian character.
Sven Godenrath, Ihr Opernratgeber
Besides his powerful singing, Michele Kalmandy, who plays Jago, captivates by his authentic stagecraft, with which he elaborates the manipulative and devious kind of character who will stop at nothing.
Congenial adversary, the scheming Jago, finds a counterpart worth listening to in Michele Kalmandy. No wonder that, when the opera was created, they also considered calling it “Jago”.
Helga Rottmann, Unser Lübeck – gemeinnütziger Kultur-Magazin
Mihály Kálmándi sang Iago for the first time, and as practically we could anticipate, he was great for this role. His rugged features, his authentic Verdi-baritone, and his stage energy could prevail both when he was part of abstract actions and when the production went back into the frames of traditional opera acting.
Ferenc László, Magyar Narancs
Mihály Kálmándy is a Iago that embodies shrewd, sly evil, a two-faced Satan in a human body. Kálmándy can be formidable and horrifying, yet with a voice of great force.
Gábor Bóta, Népszava
Mihály Kálmándi’s Iago is a promising performance. His powerful and energetic voice managed to ingeniously alternate between sweet, scheming, triumphant, official, objective, and intruding tones.
Dániel Mona, operavilag.net
We could witness another high-quality performance, in the role of Iago, from Mihály Kálmándi, who brought the vicious ensign to life with just the right amount of determination and power, thanks to his solid, masculine, and dark-toned baritone.
Balázs Csák, operaportal.hu
[…] the wonderful Andrea Rost and the fantastic Mihály Kálmándy […] have rendered their respective roles, Desdemona and Iago, radiantly charismatic, thus setting the bar very high. Kálmándy’s Iago was brimming with menace and contempt, perfectly impersonating the insinuative traitor who secretly worships Satan, while ridiculing and manipulating the naive.
Zsófia Simó, artiq.hu
Mihály Kálmándy is worth a special note for his performance in Act II, bringing incredible tension to the stage in the role of the evil schemer, Iago. His stable baritone was of great support for impersonating this character, and he managed to meet the standards he had set forth with each and every performance of his in the Opera House and Erkel Theater.
Áron Tóth, playliszt.reblog.hu